Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
(Revised)
by
Sherie Welsford
Art 180
of endless exhibit for male spectators and has had its influence in nearly every aspect of
culture. Representations of the female body all seem to draw upon the same visual codes,
and reinstate the same relationship of voyeurism and exploitation, of sexual power and
subordination. This has become a crucial area of concern for feminists over the past few
years. Yet Suzanne Valadon, a female artist in the 19th century, challenged the dominant
tradition of the female nude in art as a mere sexual spectacle for the male viewer in a time
when it was taboo for females to even speak of it let alone a female artist working in the
genre. Her overall body of work was based on the female nude, which at that particular
time, was a subject matter held exclusively for male artists. By focusing upon women’s
sense of relationship between their state of mind and the experience of their own bodies,
Valadon’s work showed a different version of the female nude in comparison to that of
her male counterparts. Her work returned the gaze back to the male spectator in a much
different way than before (Betterton, 1985).1 Although her journey to become an artist
wasn’t easy, Suzanne Valadon was a pioneer in her own time that would provide the way
Suzanne Valadon led a lonely childhood in Montmartre, Paris. She was born in
1865 to an unmarried seamstress. She taught herself to draw at the age of nine as a way
of refuge from her bleak life (Giraudon, n.d.).2 Before becoming an artist, Valadon
learned dressmaking and worked as a circus acrobat (Schubet, n.d.).3 Valadon’s own
1
Rosemary Betterton, “How Do Women Look? The Female Nude in the Work of Suzanne Valadon”.
Feminist Review 19 (1985): 3-5.
2
Collette Giraudon, “Valadon, Suzanne”. Grove Art Online, Oxford University Press, 2007.
3
Gudrun Schubert, “Valadon, Suzanne [from OCWAT]”. Grove Art Online (n.d.). Oxford University
Press, 2007.
Suzanne Valadon 3
2000).4 According to Haxell (2000) though, it is more likely that she was “figurante”
and/or apprentice acrobat at the local Cirque Fernanado in her hometown of Montmartre
(Haxell, 2000).5 Regardless of what account is accurate, her career as a circus performer
ended by accident and “she was forced to give up acrobatics for the insecure and badly
Valadon worked for about ten years as a professional artist’s model. Her role as
an artist’s model had a great impact on her own work as an artist (Betterton, 1985). She
first modelled for artists such as Renior and Toulouse-Lautrec (Schubert, n.d.). Some of
the other artists that she modelled for were Pierre puvis de Chavannes, Luirgi
Zandomenghe and Thèophile Steinlein (Giraudon, n.d.). By her own account, Valadon
was a very good model and she became very successful at it. Modelling became her ticket
into the art world. According to Betterton (1985) Valadon found herself “situated
between the harsh world of exploitation of women’s work in low paid jobs, with
prostitution as an alternative, and the Bohemian world of the artist (Betterton, 1985)”.7
The parallels between artist’s model and prostitution were very similar. Both professions
involved the selling of ones body. Artist’s models were usually of lower class statue and
the rates of pay were very low. Even if a model led a blameless life, she was still classed
outside the norms of respectable femininity (Betterton, 1985). When Valadon no longer
tolerated the role as model, she became a full-time painter. Her exposure as a model to
4
Nichola A Haxell. “Ces Dames du Cirque”: A Taxonomy of Male Desire in Nineteenth-Century
French Literature and Art”. The John Hopkins University Press 115 (2000):783.
5
Haxell. “Ces Dames du Cirque”: A Taxonomy of Male Desire in Nineteenth-Century French Literature
and Art,” 783.
6
Betterton, “How Do Women Look? The Female Nude in the Work of Suzanne Valadon,” 13.
7
Betterton, “How Do Women Look? The Female Nude in the Work of Suzanne Valadon,” 14.
Suzanne Valadon 4
artists such as Renior and Toulouse-Lautrec gave her much insight into the working
methods they employed. This transition from artist’s model to artist was a hard process
because of the acquisition of technical form and ability required along with the struggle
to form a new identity as a professional artist (Betterton, 1985). Her determination was
renewed after her successful showing in the Salon de la Nationale in 1894. Not only was
she the first women artist to be accepted, but was granted a huge complement when
Degas purchased all of her drawings from the show. That level of achievement and
respect liberated Valadon. She stepped from being an artist’s model to being an artist
(Giraudon, n.d.).
When Valadon became an artist, she fully immersed herself in the lifestyles and
lovers which produced an illegitimate son, Maurice Utrillo, a lack of respect for money
and a wild lifestyle. This role was not without its contradictions and scorn. This was
evident with her complicated and difficult relationships especially between her mother
and her son. This affected her work in relation to the nude in which she based her own
experiences of modeling and the way her body was used as subject matter for the male
uncompromising and independent way”. Her self-portraits reveal her as both “subject and
object, viewer and viewed”, in a way that redefines the relationship between artist and
The genre of the female nude has existed since antiquity. But rendering it as a
passively seductive body laid across the canvas was popularized beginning with Titian’s
8
Betterton, “How Do Women Look? The Female Nude in the Work of Suzanne Valadon,” 14.
Suzanne Valadon 5
Venus of Urbino 9 which was painted in the early sixteenth century (see fig. 2). From then
on, the standard of the female nude as it was portrayed by male artists remained
unchanged in its objectification of women. The female nude has been fashioned
according to male desires and fantasies, without regard for what women experience of
their own bodies (Mattews, 1991). According to Mathews (1991), “it is that act of the
male gaze with its objectification of women and all that it implies of social, cultural, and
psychological attitudes toward them, that historically has framed representations of the
female body and female sexuality (Mathews, 1991)”.10 Along with this, there is the long
held stereotypical view of artist-model relationship. The male artist was seen as both the
lover and creator. The female model was both his mistress and his muse (Betterton,
1985). According to Betterton (1985), “some male painters explicitly connected their
artistic powers with sexual potency. Renoir was supposedly quoted as saying, ‘I paint
with my prick’ (Betterton, 1985)”. 11 According to art historian T. J. Clark, female nude
paintings are “‘pictures for men to look at, in which Woman is constructed as an object of
During the time when Valadon was making the transition from artist’s model to
artist, an extremely aggressive and hostile manifestation of the female nude genre was
prevalent (Mathews, 1991). This genre was being lead by the Parisian avant-garde where
the theme of male explicit dominance and female passivity was being reproduced in an
even more explicit and violent way. This was evident in the work of Picasso and
9
Vecellio Tiziano (Titian). “The Venus of Urbino”, (1538).
10
Patricia Mathews. “Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne
Valadon”. The Art Bulletin 73 (1991):417
11
Betterton, “How Do Women Look? The Female Nude in the Work of Suzanne Valadon,” 11.
12
Patricia Mathews. “Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne
Valadon”, 417.
Suzanne Valadon 6
Kirchner. Valadon’s work was situated between this male-oriented genre and
Since working with the nude in paintings was considered the privilege of male
artists only, female artists were socially restricted to subject matter involving nurturing or
maternal ideologies. Even though the ‘Union des Femmes Peintres et Sculptreurs” was
founded in 1881 in France to promote the interests of women artists, very few women
choose to work in the genre of nude painting. The social implications towards women
artists working with the nude called into question the definition of femininity versus
masculinity (Betterton, 1985). For a woman to paint a nude body was seen as a form of
transgression. Since the implications were great for women, very few women artists
ventured into the area. However, Valadon made the female nude part of her main work
(Mathews, 1991). In doing so, she portrayed a women’s version in response to the male
gaze. Mathews (1991) suggests that perhaps her interest in the genre was influenced by
her role as artist’s model. She may have felt that the “female body is what she knew the
In Reclining Nude14, 1928, the main theme Valadon portrays is the return of the
gaze (Fig 3). The woman is seen lying on a couch or loveseat that is too small for her
whole body. Her legs are crossed covering her genitals, one arm crosses her breasts, and
her hand grasps some type of white drapery. The space of the picture is cramped and
shallow and confronts the viewer who cannot escape notice of her body. Valadon closes
her body from the viewer suggesting that the subject is resisting the viewer’s gaze upon
her. The subject’s very ‘self’ is presented to us through her language and gaze. According
13
Patricia Mathews. “Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne
Valadon”, 418.
14
Suzanne Valadon. “Reclining Nude”, 1928.
Suzanne Valadon 7
to Mathew’s (1991) analysis of the painting, “hers is a gaze returned (Mathews, 1991)”.15
The gaze is neither seductive nor passive. It is a gaze of awareness and response for
which the viewer is made to feel like an intruder rather than a welcome guest. Valadon
Valadon’s version of the gaze challenged art history. For her to continue working
in the genre also challenged society’s tight held concept on what was considered
acceptable social behaviour between men and women. For Valadon to remain working
with the female nude during a period of time when women were only viewed merely as
something to be dominated and controlled by men took great courage and dedication on
her part. Valadon broke the accepted rules of the establish art world as well as society’s
rules and then took control and set her own rules. Valadon forces the viewer to see the
beyond mere sexual attraction. Valadon’s returned gaze screams for attention from the
In The Blue Room 16, 1923, Valadon goes further to launch a more direct
challenge towards male conventions of the genre of the reclining nude (Fig 4). Valadon
handles the subject matter in a form reminiscent to odalisque paintings of Matisse and
Ingres by using a conventional format style of the female nude. She uses specific clues as
to her class and status but then adds conflicting signs in order to keep the viewer
guessing. Valadon employs traditional frameworks but then subverts the conventional
signs used in that system. However, this nude is fully clothed, her body is relaxed, and
she is facing the viewer. She is leaning on a pillow, in a luxurious setting but she lacks
the seductive qualities of the Venus of Urbino17(Fig 2) or the eroticism of Ingres’s The
15
Patricia Mathews. “Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne
Valadon”, 424.
16
Suzanne Valadon. “The Blue Room”, 1923.
17
Vecellio Tiziano (Titan), “The Venus of Urbino”, 1538.
Suzanne Valadon 8
Grande Odalisque18 (Fig 5). Valadon is presenting the subject without the classical signs
of sexual allure. She both participates in and contradicts the traditional objectification of
the female body. By doing so, she challenges the masculine view of beauty (Mathews,
1991).
Like so many other female artists in art history, there is very little information
rights. Valadon’s work offered the world a way of looking at the female body which is
not entirely bound in the implicit idea that all such images are addressed only to a male
spectator. She broke traditional norms of the male dominated art world and the
patriarchal society that developed and manifested such rules. She developed her own set
of rules and remained steadfast to them in a time when women faced great oppression.
Valadon opened up different possibilities within painting the nude that allowed for the
expression of women’s experience of their own bodies and she paved the way for other
female artists to follow. Even though her work was within the given forms of her own
period, she challenged the boundaries in order to represent and engage a woman’s
perspective. She returned the gaze portraying her subjects with a sense of self-awareness
that was not present in female nudes by male artists of the time. Her works show that it
was possible for women to intercede within a genre that was heavily dominated by male
artists and spectators alike thereby giving a different perspective from the viewpoint of
the nude (Betterton, 1985). Valadon’s returned gaze solidifies her place as one or the
18
Jean-Auguste-Dominique Ingres, “The Grand Odalisque”, 1814.
Suzanne Valadon 9
Figure 1
Figure 2
Figure 3
Figure 4
Figure 5
Bibliography:
Betterton, Rosemary. “How Do Women Look? The Female Nude in the Work of
Giraudon, Collette. “Valadon, Suzanne”. Grove Art Online (n.d.). Oxford University
Press, 2007. [accessed March 3, 2007]. Available from Grove Art Online website:
(http://www.groveart.com/).
Century French Literature and Art”. The John Hopkins University Press 115
(http://www.jstor.org).
Mathews, Patricia. “Returning the Gaze: Diverse Representations of the Nude in the Art
Schubert, Gudrun. “Valadon, Suzanne [from OCWAT]”. Grove Art Online (n.d.). Oxford
University Press, 2007. [accessed March 3, 2007]. Available from Grove Art
List of Illustrations
Figure 2 Vecellio Tiziano (Titian) The Venus of Urbino, 1538, (Galleria degli
frames-e.html?/html/t/tiziano/mytholo1/
u_venus.html
:424).
:424).
1985:6).